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Resumen: This article aims to describe how written translations of audiovisual products change along the dubbing process until they reach the audience, focusing mainly on the synchronisation stage. The corpus is made up of the first reel of the Catalan and Spanish translations of three different films released in 2006 (Casino Royale, Good night, and good luck, and The Da Vinci Code). After a brief summary of the dubbing process and a short overview of the approaches to synchronisation found in the literature, the specific strategies found in a bottom-up analysis are highlighted, offering both a wide analysis of the general changes throughout the process and a closer analysis of the specific changes that occur in the synchronisation stage. A comparison of the strategies found in Catalan and Spanish is also included in order to assess whether different languages result in different strategies.

Resumen: PARTE PRIMERA: capítulo I. Introducción; capítulo II. Europa ante la aparición del cine sonoro; capítulo III. España frente al cine sonoro; capítulo IV. La política de traducción cinematográfica en España. SEGUNDA PARTE: capítulo V. Metodología de análisis de la traducción audiovisual; capítulo VI. Análisis de Sangre y Arena: Normas de traducción; capítulo VII. Conclusiones. Informe. Anexo.

Resumen: La traducción de los títulos de películas ha sido un tema de investigación en el que apenas se ha profundizado hasta hace algunos años. Sin embargo, la relevancia de la elección de un título es indiscutible: no sólo es el primer contacto que se establece con la película, sino que hay mucha gente que va a las salas de cine con este único dato como referencia. Este artículo intentara analizar cuál es el proceso de traducción de los títulos de películas y quién es el encargado de que títulos originales como "Nines Lives" lleguen a nuestras carteleras como "Ladrones de mentes".

Resumen: The transfer of offensive and taboo language in subtitling may position translators' choices in a challenging and controversial situation, given the effect that such terms can cause on the audience (Díaz Cintas 2001a). Nowadays, it seems that dealing with this type of language starts to gain more attention in academic circles, as it belongs to colloquial language within a low register, and as such we do speak in diverse manners depending on the context we are in. This paper delves into the way offensive and taboo language has been subtitled into European Spanish. In order to conduct this study, the subtitling of the DVD version of Quentin Tarantino's multilingual film Inglourious Basterds (2009) has been described and analyzed, resorting to a multi-strategy design (Robson 2011) which combines quantitative with qualitative data, under the umbrella of the descriptive translation studies paradigm. Accordingly, the main purpose of this analysis is to determine any regularities in the way in which offensive and taboo language has been dealt with in this particular case study, considering the technological restrictions of subtitling as well as the translational strategies employed. Thus, this study aims to shed some light on the way this type of language has been transferred on the screen.

Resumen: This paper consists of an analysis of the expressive secondary interjections found in the film Four Weddings and a Funeral and their equivalents in the Spanish and Catalan dubbed versions. The contrastive analysis of the interjections in the original English version compared with the Spanish and the Catalan dubbed versions shows that the strategies followed by the translators are different: literal translation is far more frequent in Spanish than in Catalan. Literal translation often implies an error that is pragmatic in nature since it derives from the misunderstanding of the pragmatic meaning that the interjection conveys.

Resumen: Films produced for companies are rich in translation issues but provide a growing field of creativity and variety for translators. Jean-Pierre Mailhac reports

Resumen: El hecho que una película esté basada en una obra literaria no puede pasarse por alto a la hora de la traducción para su subtitulado. Hay decisiones que quien hace subtitulado de una película debe tomar y para las cuales el sustrato literario no es un dato irrelevante.